Rumour has it John Travolta kicked himsel🦹f for turning down the chance to star in Chicago. Which may explain why he’s so w🦩illing to risk ridicule in this big-screen adap of the eponymous Broadway musical (itself spun from John Waters’ 1988 movie).
Packed into a female fat-suit and crooning sh🐻owtunes in a voice more Dr Evil than Baltimore-born, Trav’s quite a sight (and sound) as Edna Turnbl♔ad, overprotective mum to plus-size teen dreamer Tracy (impressive newcomer Nikki Blonsky).
Credit goes, then, to director-choreographer Adam Shankman (Bringing Down The House, The Pacifier) for sliding the Grease star so comfortably into Hairspray’s gaudy world of beehive hairdos, kitsch couture and peppy TV dance parties. It’s one of the latter – The Corny Collins Show (hosted by ex-X-Man James Marsden) – that Tracy gets the chance to strut her stuff on, beguili﷽ng viewers but not queen bee Amber Von Tussel (Brittany Snow). Let a bitter battle for the ‘Miss Teenage Hairspray’ crown commence…
Amid the adolescent rivalries, Shankman attempts to tap the ’60s-era tensions – primarily racial prejudice – familiar from the original movie and stage production. But while the theme of colour trouble gives pro-integration activist Queen Latifah (as ‘Motormouth Maybelle’▨) plenty to chew on in a typically brassy turn, Shankman’s handling lacks bite.
𒉰So, incisive social comment may be missing, but you do get the off-kilter joy of Trav tripping the light flabtastic with screen hubby Christopher Walken. Their surprisingly touching believability as a couple is complemented by Blonksy’s charm-stocked performance and a shoal of infectious ditties like ‘You Can’t Stop The Beat’, ‘I Know Where I’ve Been’ and ‘Miss Baltimore Crabs’. The last is belted out by Michelle Pfeiffer, who has a ball as Amber’s scheming, TV station-owning mother. While it can’t claim the sass and sex appeal of Chicago, Shankman’s film is shot through with fun and froth, nailing the crowd-cheering appeal of the Tony-winning stageshow. It’s just a shame that Hairspray doesn’t have quite the hold you’d hope for.
A mix of savoury issues and sweet songs that lets the latter win out. It's short on the subversive vibe of John Waters' version, but if catchy tunes and a casꦆt having a blast are all you're after, this will leave a smile.
James White is a fr🍨eelance journalist who has been covering film and TV for over two decades. In that time, Ja💦mes has written for a wide variety of publications including Total Film and SFX. He has also worked for BAFTA and on ODEON's in-cinema magazine.
